video feature
Yerevan
One Shot – International Film Festival
Yerevan
During many years, the 17th May was the start of One Shot – International Short Film Festival Yerevan organised by ACCEA – The Armenian Center for Contemporary Experimental Art.
So for today Wilfried has to choose into which year Wilfried would like to switch in order to attend (virtually) the festival in Armenia. Actually in 2010, Wilfried was planning to visit the Caucasian countries Georgia and Armenia , because by chance during the same period in May an event was scheduled in which Wilfried’s curatorial projects are screened.
But Wilfried supposes that the festival people in Armenia were afraid that they have to pay Wilfried’s visit, so that they missed the deadline and it was too late to book the flight.
But Wilfried supposes, as well, that it was better not to attend the event in Yerevan in 2010, because like in Georgia in 2013, the old Sovjet structures are not only sdtill physically visible, but also still mark the mentality of people, and – Wilfried is definitely saturated by the ancient Sovjet ideals.
Actually, the contacts to ACCEA were already settled in 2004, when the art center was organising Public_Media_Space Festival in Yerevan, which Wilfried’s global networking project – The RRF Project – was participating in. Afterwards Wilfried and ACCEA were keeping themselved regularly updated, so that when Wilfried was intensifying his curatorial activities around moving images and had founded in 2005 CologneOFF – International Videoart Festival – both parties took the chance start cololaborating in 2009.
In 2011, Vahran Akimian, part of the ACCEA organisation and video artist himself, prepared for CologneOFF 2011 – video art in aglobal context a curated contribution featuring videoart from Armenia, and this was typical – compared with the situation in Georgia – in Armenia were existing videoartists since longer time, even if the possibilities for studying media art were as bad in Armenia than in Georgia. These facts speak actually for itself and give the impression from distance, that the mentality of the Armenians might be eventually more progressive than the Georgians.
7th International Film Festival Yerevan/Armenia – 17-24 May 2009
CologneOFF IV
“Etude” by Dario Bardic (2007, 3:20, Croatia)
“JOINED AT THE HEAD” by David Jakubovic (2008, 4:40, USA)
“The Occidentialist” by Daniel Slåttnes (2007, 1:18, Norway)
“Meeting Florchen Gordon” by Grace Schwindt (2008, 4:29, UK)
“J.F.’s Toolbox” by Virginie Foloppe (2004, 5:50 France)
“Foreigner-Straniero” by Giuseppe Girardi (2008, 6:56, Italy)
“El Camino-The Way” by Felipe Matilla Alonso (2008, 12:00, Spain)
“Africa” by Ane Lan (2007, 4:34, Norway)
“Fashion Death” by Daniel Rodrigo (2007, 4:53, Spain)
“Spaghetti” by Carla Della Beffa (2007, 2:42, Italy)
“Anatolia” by Sinasi Günes (2006, 2:18, Turkey)
“Switch” by Yu Cheng Yu (2008, 4:32, Taiwan)
“A Growing White Stone” by Shoko Toda (2008, 14:34, Japan)
One Shot – Intern. Shortfilm Festival Yerewan/Armenia – 17-24 May 2010
CologneOFF V
The Best of CologneOFF V
Corporate Warfare, 2005, 3:32 by Casey McKee (USA)
Noli Me Tangere, 2008, 6:20 by Masha Yozefpolsky (Israel)
The Kurukshetra-Report, 2009, 8:00 by Ascan Breuer (Germany)
Roghieh, 2009, 5:30 by Alysse Stepanian (Iran)
Who lives in My Head, 2009, 4:30 by Margarida Paiva (Portugal)
Berenice, 2008, 4:31 by Bill Domonkos (USA)
Electric Icon, 2009, 13:00 by Aryn Zev (USA)
Bodies and Metals, 2009, 3:00 by Rafael (Belgium)
Cruentation, 2008, 3:48 by Iona Pelovska (Canada)
Elena in the Prison of Herself, 2006, 6:58 by Julio Orta Villarreal (MX)
Silent, 2007, 1:16 by Silvana Dunat (Croatia)
The Magnitude of the Continental Divide, 2009, 6:00 by Chis Coleman (USA)
Anomia, 2008, 4:50 by Nuria Frogoso (Mexico)
CologneOFF 2011 Armenia – @ One Shot – International Film Festival Yerevan – 17-24 May
Tensions in time and space II
Curated by Wilfried Agricola de Cologne
CologneOFF 2011 Armenia
Mohammed Harb (Palestine) – Without Windows, 2009, 5:00
Confusion Group (Spain) – Sorry to bother you, 2008, 6´06″
Sai Hua Kuan (Singapore) – Space Drawing No. 5 – , 2009, 1:02
Shahar Marcus (Israel) – Homecoming Artist, 2008, 4:37
Angela Washko (USA) – Washko’s PR, 2010, 2:00
Jorge Garcia Velayos (Spain) – THE BEAST / LA BESTIA, 2009, 05’ 20’’
Irina Gabiani (Georgia) – Diachronicon – 2010, 1:00
Pablo Fernandez-Pujol (Spain) – 142-143 – 2010, 2:10
Neringa Naujokaite (Lithuania) – “Horizont”, 2010, 8:53 min
Barry Morse (USA) – Mouse’s Birthday, 2010, 3:35
Lemeh 42 (Italy) – Inner sound, 2010, 10′
Kira Zhigalina (Russia) -Blank or Attempts to Draw at Nothingness, 2008, 6:00
Doug Williams (USA) – Back & Forth, 2009, 2:42
CologneOFF 2012 Armenia @ One Shot – International Film Festival – May 2012
CologneOFF VII
The Best of “Art & the City”
Special selection curated by Wilfried Agricola de Cologne
CologneOFF 2012 Armenia
Albert Merino (Spain) – The City and The Other, 2010, 3:09
Francesca Fini (Italy) – Oasis in the Desert, 2010, 5:00
Nick Fox-Gieg (USA) – Disarmed , 2002, 2:42
Ellen Lake (USA) – Call + Response, 2009, 3:00
Theme Bannenberg & NOK Snel (Netherlands) – Behind Closed Doors, 2010, 7:38
Shahar Marcus (Israel) – Leap of Faith, 2010, 3:02
Yuriy Kruchak, Yulia Kostereva (UKraine) – The 7th of November, 2009, 3:36
Ana Brotas (Portugal) – Okupa, 2009, 2:19
My Name is Scot (Canada) – Independance, 2011, 7:56
Liu Wei (China) – Hopeless Land, 2009, 7:28
Emeka Ogboh (Nigeria) – [dis]connect III, 2011, 3:36
Ramon Suau Lleal (Spain) – Hoax, 2010, 4:23
public_media_space_festival Yerewan/Armenia –- 23 July -03 August 2004
Public_Media_Space Festival Yerevan 2004
The RRF Project
Enter The RRF Project online
Basics Festival was showing The RRF Project in its version 2.0 like MNAC – National Museum of Contemporary Art Bucharest was showing it until 30 April 2004.
In May 2004, The RRF Project is featured on the German broadcasting SWF (Südwestfunk – radio & television)
An independent cultural production in progress —>
The project was initiated in October 2003 in order to start in March 2004 the realisation of the global network by presenting [R][R][F] 2004 –>XP at Museum of Contemporary Art Bucaresti/Romania, Bergen Electronic Arts Center Bergen/Norway and New Media Art Festival Bangkok/Thailand and later at different places around the globe and starting a variety of associated processes developing and running during 2005 as [R][R][F]2005—>XP, as [R][R][F]2006—>XP in 2006 etc.
[R][R][F] 200x —>XP is an experimental New Media art project created and developed by media artist and New Media curator Agricola de Cologne which he is developing and organising completely online. [R][R][F] 200x–>XP includes a variety of online and offline componentsThe basic subject –>“Memory and Identity”
The basic operating aspect –>”networking as artworking”.
The basic presentation aspect –>physical installation – the exchange/combination of virtual and physical space.
Due to its complexity, [R][R][F] 200x —>XP is constructed of two parts, a low tech administrative body which contains all relevant project related information in a textual form, and an high tech artistic body based on an interface developed in Flash. Both together form the art work to be transported or distributed via the Internet. The artistic body includes all art related components which may come from most different sources.
The interface of the artistic body refers to the human brain and its complex networking structures by visualizing them in different ways. The essential nodes of connection are reduced to some basic sections , named: “Memory Channels”. Each of these “Memory Channels” (currently eight) is focussing on different aspects of “memory and identity” – the main subject of [R][R][F] 200x –>XP – and may carry some sub-sections as well, modules which contain specific project environments or individual art works.
In this way, [R][R][F] 200x–>XP does not represent a complete art work, but Internet specific as it is, the project is ongoing. Corresponding to the collage principle the brain is using for its associative system, the project represents rather a framework for options to start processes. By following them, the actual art work can take shape in most individual ways, in a kind of dynamic virtual sculpture, a kind of hyper-dimensional collage or patchwork.
The composition of the work is as simple and simultaneously as complex as it can be. Agricola de Cologne holds the position of a creator who is building an Universe of hisown in which most different networking instances are acting. He is creating a specific system, which is based on filtering, associating and linking on different level, starting from his personal view based on specific filters, then by inviting curators, who select artists of their choice, the next filtering and networking level is installed,. The artists who are selected via curating form the next following level. As they may come from different cultural, religious, political and social backgrounds and more than 45 countries on the globe, they are installing a complex filtering system of their own via the artworks and the specific view the art work is based on. Each included art work has and gets a very special meaning in this networking context.
The active user anywhere on the globe, finally, forms another level by contributing his personal filtering system via associating and reflecting, it is him who is initiating actively processes which lead finally to his personal art work.
The term “global” has a fundamental meaning in many concerns, not only related to the global aspect in terms of this Universe the creator is building, but even more to the networking structure the creator is installing in the global context of this “one” world we all are living in, by inviting/involving/incorporating physical networking instances as curators, artists, institutions, organisations etc, which can form the basis for external/affiliated local networks consisting optionally again of a variety of virtual and physical components, but also in the sense of distributing the specific project contents which may have again complex relations to the term “global”.
Without the existence and the rapid developments of the new (and above all affordable) communicating technologies and the virtual environment of the Internet, which allows communicating in real time to any place on the globe, a project like [R][R][F] 200x –>XP would have never been started .Agricola de Cologne is using these technologies in most different ways according their rules –>the Internet as a whole not only as a database, but as an environment for creating art, for distributing net based art in its various forms and in this way the specific content of his project via the net in real time to any part on the globe.
Thus, “networking” in terms of “ artworking” is not reduced to a certain aspect of artistic creating in which several artists work on a common project under mutual influence and inspiration, but includes all possibible elements and their mutual relation and dependence the actively involved networking instances are producing .
Networking is a specific form of communicating, and communicating as such forms the fundament of the project, in general. Consequently, an essential part of the project consist of components which may become visible only as the result of a communicating process, but are actually acting entirely in the background , as the communicating between the physical networking instances which keep the project running.
The exchange/communication between physical and virtual space has a specific relevance. One main goal of [R][R][F] 200x–>XP represents its installation/presentation in physical space at locations in most different parts on the globe, whereby [R][R][F]200x —>XP does not provide any physical component, but exclusively its art related contents distributed via the Internet. Each single physical installation represents an unique action, not only due to the different conditions space and the dimension the technical equipment may have, but also to the inclusion of new aspects and components in this continuously expanding project environment.
[R][R][F] 200x —>XP is an open system, not in the sense of “open source”, but, independently from any restricting ideology, it is open for all developments which might come .
Agricola de Cologne shows himself as a universal instance which incorporates most different functions in one single person, in first place the artist, but also the programmer & multi-media developer of its content, the creator of an universe of itsown, a director of a virtual institution, the chief –curator who curates curators, the curator who curates artist and contents, the co-ordinator and organiser of virtual and physical events, initiator and central networking instance withing the entire networking structure, but rather as a “primus inter pares” than in an hierarchic sense.
